Tag: Beethoven

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Piano Instruction: Practicing the “windy” chromatic scale of Beethoven’s “Fur Elise”

arioso7: Shirley Kirsten

After a stream of graceful arpeggiated triplets, a "windy" sounding, descending chromatic scale leads artfully back to the opening theme that concludes "Fur Elise." The traditional chromatic fingering I've inserted in the score corresponds to the 1/2-step sequence beginning on Bb: Black/white, Black/white Black/White/White etc. 3, 1, 3, 1, 3, 2, 1 etc. Video Instruction… Continue reading Piano Instruction: Practicing the “windy” chromatic scale of Beethoven’s “Fur Elise”

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Piano Instruction: Part FIVE, Beethoven’s “Tempest” Sonata, Op. 31 no. 2 Measures 93 to 158 (Development, Recitative, submerged pedal)

arioso7: Shirley Kirsten

This is a hauntingly beautiful section of the first movement. After the composer has devoted so many preceding measures to the key of A minor, he decides to travel at quick intervals through a series of different keys. Such fast-paced modulations occur primarily with the return of the crossed-hands portion of the piece, beginning in… Continue reading Piano Instruction: Part FIVE, Beethoven’s “Tempest” Sonata, Op. 31 no. 2 Measures 93 to 158 (Development, Recitative, submerged pedal)

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Piano Instruction, Part THREE Beethoven “Tempest” Sonata in D minor, Op. 31, No. 2

arioso7: Shirley Kirsten

This instruction continues from measure 41 through 57, where agitated pairs of 8th notes return, picking up the opening motif. As expected, I use blocking or clustering to keep the redundant figures resilient and bundled with energy. (a forward moving wrist motion is attenuated in rapid tempo, but more exaggerated in the slow practice phase)… Continue reading Piano Instruction, Part THREE Beethoven “Tempest” Sonata in D minor, Op. 31, No. 2

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Piano Instruction: Part TWO, Beethoven’s “Tempest” Sonata, Op. 31, No. 2, Hand Cross-over, with tremolo in the middle voice

arioso7: Shirley Kirsten

A tricky chromatic scale with a turn-around at its end ushers in a stormy, impassioned section with cross-over hands. Some players observe the notation to a tee, and avoid these hand-over-hand maneuvers, but I, like many other pianists do the re-arranging in the interests of smoothly trailing a melodic line that starts in the bass… Continue reading Piano Instruction: Part TWO, Beethoven’s “Tempest” Sonata, Op. 31, No. 2, Hand Cross-over, with tremolo in the middle voice

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Beethoven’s Fur Elise with orchestra? or without (Videos)

arioso7: Shirley Kirsten

During the night, I stumbled upon a piano solo with orchestra arrangement of "Fur Elise" that included a set of nuanced special effects. First, the pianist, nonchalantly flowed into the first theme to a stream applause, reminding me of the time I played this same piece without embellishment in the dining hall of Fig Garden… Continue reading Beethoven’s Fur Elise with orchestra? or without (Videos)

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The Art of Piano Pedaling: Filming Fur Elise down below (Videos)

arioso7: Shirley Kirsten

I decided to take a nose dive with my iMac desk top and place it way down by my feet because today an adult student continued her IN DEPTH study of legato pedaling. She was specifically practicing the C section of Beethoven's "Fur Elise," that I coin, the "stormy" part. (It has the tremolo, and… Continue reading The Art of Piano Pedaling: Filming Fur Elise down below (Videos)

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Building Piano Technique: Extracting passages from pieces to practice

arioso7: Shirley Kirsten

Instead of playing through laborious Hanon and Czerny exercises to improve aspects of piano technique, a student can cut to the chase, by snatching selected passages from their pieces that magnify a particular technical/musical challenge. As an example, one of my adult students, devoted part of her lesson time to practicing a series of descending… Continue reading Building Piano Technique: Extracting passages from pieces to practice

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Piano Lesson: An adult student continues her Beethoven “Fur Elise” learning process (Video)

arioso7: Shirley Kirsten

These are excerpts from today's lesson where we covered: 1. Broken chord blocking; refreshing inversions of the Tonic as applied to practicing Fur Elise. 2. Voice balancing: fleshing out the treble (soprano) melody, on page 2 (F Major section) Using supple wrist and hand rotation; relaxation of arms. 3. C section--with repeated bass notes, alternating… Continue reading Piano Lesson: An adult student continues her Beethoven “Fur Elise” learning process (Video)

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Piano Performance retrospectives: The seeds of greatness were sown early in life

arioso7: Shirley Kirsten

It was fascinating to discover videos of pianists in their teens that hearken back to their earlier years of study. In all, a hallmark feel for the phrase and nuance highlights their performances in the past and present. In addition their heartfelt playing rises above the notes and communicates a musical passion that is unabashedly… Continue reading Piano Performance retrospectives: The seeds of greatness were sown early in life

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Picking the right piano to record a selection (Videos)–“Fur Elise” by Beethoven

arioso7: Shirley Kirsten

I've heard stories about great pianists such as Richter obsessing over a choice of piano for a concert. Allegedly, he was very fussy, and sometimes regretted the one he picked out for a recital. But when he found himself playing in Siberia and rural parts of the Russian landscape, he rose to the occasion, and… Continue reading Picking the right piano to record a selection (Videos)–“Fur Elise” by Beethoven